New Zealand's representatives in parliament have had some of their most memorable moments captured on camera. This collection showcases their screen legacy: from stirring addresses (Kirk), feisty debates (Muldoon, Lange, Olympic boycotts), revolutions, nukes, and snap elections, to political punches (Bob Jones), and young leaders (Clark). Listener writer Toby Manhire writes about Kiwi politicians on screen here.
On 8 June 1987 Nuclear-free New Zealand became law. This collection honours the principles and people behind the policy. Prime Minister Norman Kirk put it like this: "I don't think New Zealand's a doormat. I think we've got rights — we're a small country but we've got equal rights, and we're going to assert them." In the backgrounder, journalist Tim Watkin explores the twists and turns of Aotearoa's nuclear history.
This documentary tells the stories of the New Zealand soldiers who were part of the identity-defining Gallipoli campaign in World War I. In the ill-fated mission to take a piece of Turkish coastline, 2721 New Zealanders died with 4752 wounded. As part of research, every one of the then-surviving Gallipoli veterans living in New Zealand was interviewed, with 26 finally filmed. Shot at a barren, rocky Gallipoli before the advent of Anzac Day tourism, this important record screened on Easter Sunday 1984, and won a Feltex Award for Best Documentary.
Māori Battalion - March To Victory tells the story of the New Zealand Army's (28th) Māori Battalion, which fought in campaigns during World War ll. Director and writer Tainui Stephens sets out in the feature-length documentary to tell the stories of five men who served with the unit, and also "capture how they felt about it". Narration by actor George Henare, remembrances, visits to historic sites, archival footage, and graphic stills create a respectful and stirring screen testament to the men who fought in the Battalion. Stephens writes about the film in the backgrounder.
This feature dramatises an ill-fated offensive that Kiwi soldiers undertook during World War I’s Gallipoli campaign. On 8 August 1915 the Wellington Battalion briefly seized Chunuk Bair, a pivotal peak overlooking the Dardanelles; they suffered huge losses. The film pitches the attack as a formative New Zealand nationhood moment, with Kiwi guts and resilience countered by inept, careless British generals, as much as their Turkish foes. Filmed on an Avalon set and the Wainuiomata coast, the story was based on Maurice Shadbolt’s classic play Once On Chunuk Bair.
More everyday Americans are encountered as this documentary series — fronted by Gordon McLauchlan — visits Tennessee, Virginia and Kentucky to explore the Bible Belt touchstones of patriotism, mining, religion, guns and country music. Interviewees include a former miner and self confessed mountain man who collects guns and teaches scripture, a new wife and mother trying to settle into life in a smaller town, a truckie and aspiring musician who sees big rig drivers as the last cowboys, and a singer/songwriter looking for that elusive big break in Nashville.
This documentary explores resurgent interest in Anzac Day and examines the Kiwi desire to “remember them” (those who served in war) — ranging from patriotism to protest to burgeoning dawn services. The doco is framed around the return of the Unknown Warrior to a Wellington tomb in 2004; and a trip to Trieste, Italy, for Gordon and Luciana Johnston and their 24-year-old granddaughter Kushla. Gordon was a World War II gunner and Luciana an Italian nurse. Kushla learns of their war experience, and the early Cold War stand-off in Trieste following Nazi surrender.
Children of Gallipoli offered viewers another angle on the Gallipoli story. Produced for TVNZ and Turkish television, the documentary focuses on four young people, two Turks and two New Zealanders. All are descended from men who fought at Gallipoli in 1915. Travelling to Turkey, the Kiwis explore the battle site and meet the other two participants. Together they gain an insight into the grim reality of what their ancestors experienced. Seeing it through their eyes charges the film with a strong emotional resonance. Anna Cottrell writes here about the challenges of directing it.
Four-part series Revolution mapped sweeping social and economic change in New Zealand society in the 1980s and early 1990s. Described as a “journalist's assembly” by its makers, it collected together interviews with the major players and archive footage. Producer Marcia Russell: “We wanted to make Revolution because we believed that unless we re-run and re-examine our recent history we are in constant danger of forgetting, and forgetting can render us passive about the present and slaves of the future.” It won Best Factual Series at the 1997 Film and TV Awards.
Geoff Dixon began making commercials in the 70s — the decade he launched legendary ad company Silverscreen Productions, whose clients included Cadbury, Toyota, Air New Zealand and Singapore Airlines. Ranging across New Zealand and beyond, his work includes iconic images of South Island back roads, Barry Crump crashing utes through the bush, and Michael Hurst singing a war cry for the Kiwi bloke.